"The 'rising' and 'falling' slides separate the great mass of ideas into two distinct classes; the first comprising all the subordinate, or incomplete, or, as we prefer to name them, the negative ideas; the second comprising all the principal, or complete, or, as we call them, the positive ideas. "The most important parts of what is spoken or written, are those which affirm something positively, such as the facts and truths asserted, the principles, sentiments, and actions enjoined, with the illustrations, and reasons, and appeals, which enforce them. All these may properly be grouped into one class, because they all should have the same kind of slide in reading. This class we call 'positive ideas.' "So all the other ideas which do not affirm or enjoin anything positively, which are circumstantial and incomplete, or in open contrast with the positive, all these ideas may be properly grouped into another single class because they all should have the same kind of slide. This class we call 'negative ideas.' "Positive ideas should have the falling slide; Negative ideas should have the rising slide. "All sincere and earnest, or, in other words, all upright and downright ideas demand the straight, or upright and downright slides. "All ideas which are not sincere or earnest, but are used in jest, or irony, in ridicule, sarcasm, or mockery, in insinuation or double-meaning, demand the crooked or circumflex slides." These rules taken in connection with the accompanying brief but clear and precise explanation of the meaning attached to the words positive and negative, constitute the most admirable generalization that I have met with in elocutionary works of more recent date than that of Dr. Rush. And, indeed, Professor Bailey's whole treatment of that part of elocution now under consideration, is the best illustration I can name of the middle course which I recommend. Avoiding alike the ultra "artificial" system of Walker and the ultra "natural" system of Whately, he combines in his instruction the excellencies of both, without their faults. He is both philosophical in his theory, and practical in its application. He attempts only what is practicable. He insists on analysis, but his analysis is at once simple and comprehensive. He classes the different kinds of composition with respect to the emotions, as follows,--1. Unemotional; 2. Bold; 3. Animated or joyous; 4. Subdued or pathetic; 5. Noble; 6. Grave; 7. Ludicrous or sarcastic, 8. Impassioned,--and then indicates the modifications of voice appropriate for each.